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Why Philadelphia Was an Early Hub For Black Ballerinas
When we're talking about the history of black dancers in ballet, three names typically pop up: Raven Wilkinson at Ballet Russe de Monte Carlo, Janet Collins at New York's Metropolitan Opera and Arthur Mitchell at New York City Ballet.
But in the 1930s through 50s, there was a largely overlooked hot spot for black ballet dancers: Philadelphia. What was going on in that city that made it such an incubator? To answer that question, we caught up with Memoirs of Blacks in Ballet founder (and frequent Dance Magazine contributor) Theresa Ruth Howard, who yesterday released her latest project, a video series called And Still They Rose: The Legacy of Black Philadelphians in Ballet.
What was Philadelphia's relationship to race at that time?
"It was relatively racially progressive. As far back as 1935, Philadelphia's high schools were not completely segregated. The city at one point had the largest number of free black men in the union—it was a preferred location for black people coming up from the South."
How did black students there get into ballet?
"In Philadelphia, the arts were abundant, and a lot of artists became school teachers for extra work. They'd start extra curricular clubs for things like voice, drama—and ballet. That's where Joan Myers Brown and Delores Brown started dancing. Their gym teacher had been a member of the Littlefield Ballet Company, so they had access to high level training in school.
"Antony Tudor was invited by the Philadelphia Ballet Guild to teach there and in local studios. Joan Myers Brown was one of the first students to take class with him because her friend's aunt owned a studio, so she was allowed even though she was black. The guys wouldn't partner her in class, so Tudor partnered her.
"Black dancers couldn't go to white schools to train, but some of those teachers were happy to come to black studios or to train black students privately. There were two main studios for black dancers: Marion Cuyjet's and Sydney King's (they originally opened a school together, but their personalities were incompatible). Marion especially was determined to create the first black ballerina."
Where did these dancers perform?
"There were well-to-do black doctors, lawyers, entrepreneurs in Philadelphia, and every year they'd have a cotillion, and Sydney and Marion's ballet schools would put together a full-length story ballet for it. They had these huge sets provided by the freemasons; there was one year when Delores Brown entered on a horse! Judith Jamison did Giselle at the cotillion and that was her coming out. Billy Wilson choreographed a ballet for it called Blue Venus, and of course he later went on to Broadway and then Netherlands Dance Theater. There was a small circuit for black ballet in Philadelphia via churches or halls and this cotillion; that was the extent of the career that most of them could have being black as ballet dancers."
How did this compare to what was happening in the rest of the country?
"There were dancers training in other places. In DC, Mabel Freeman had a school, and Jones Haywood School was founded in 1941. But most of those dancers were diverted to other techniques to perform on Broadway or in nightclubs, not in ballet companies. But Donna Lowe danced for the Philadelphia Grand Opera Ballet for years while passing as white. If you even go further back, George Washington Smith who danced the first Giselle in America was rumored to be Mulatto—he was also from Philadelphia."
Why is this a story that needs to be told now?
"We're having conversations about diversity and inclusion and equity. But I don't know if people understand that this isn't a new topic. We've been talking about it since the 30s! I think you start to understand the frustration of someone who's 80 years old, and you tell them, 'Well, diversity takes time.' They've been watching it for decades. It's not just history; it's really these dancers' lives."
Howard will hold a live panel discussion at Philadelphia's The Painted Bride Center with Joan Myers Brown and Delores Brown on October 28.
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.
Have a scroll through Agnes Muljadi's Instagram feed (@artsyagnes), and you'll notice that in between her ballet shots is a curated mix of lifestyle pics. So what exactly sets her apart from the other influencers you follow? Muljadi has made a conscious effort to only feature natural beauty products, sustainable fashion and vegan foods. With over 500k followers, her social strategy (and commitment to making ethical choices) is clearly a hit. Ahead, learn why Muljadi switched to a vegan lifestyle, and the surprising way it's helped her dance career.
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
The #MeToo movement has made its way to France's biggest ballet company.
An anonymous survey recently leaked to the French press revealed major turbulence at the Paris Opéra Ballet. The Straits Times reports that the survey was conducted by an internal group representing POB's dancers. In it, there are numerous claims of bullying, sexual harassment and management issues.
Nearly all of the dancers (132 out of 154) answered the questionnaire, but they didn't know it would be made public. (Around 100 of them later signed a statement saying they didn't consent to its release.)
He may not be a household name, but you probably know Brandon Stirling Baker's work. The 30-year-old has designed the lighting for most of Justin Peck's ballets—including Heatscape for Miami City Ballet, and the edgy The Times Are Racing for New York City Ballet—but also Jamar Roberts' new Members Don't Get Weary at Alvin Ailey American Dance Theater and a trio of Martha Graham duets for L.A. Dance Project.
He's been fascinated by lighting ever since he attended a public performing arts middle school in Sherman Oaks, California, where he had his first experiences lighting shows. He also has a background in music (he plays guitar and bass) and in drawing. Both, he says, are central to the way he approaches lighting dance.
Update: Due to an overwhelming response, the in-person audition has been moved to a larger location to accommodate more dancers. See details below.
For the first time in more than 10 years, Janet Jackson is holding an open audition for dancers.
Even better? You could land a spot in her #JTribe simply by posting a video on social media.
What does it take to become an international superstar? Carlos Acosta might have a few ideas.
At the Oxford Literary Festival earlier this month, the BBC sat down with Acosta to ask for his life lessons. His answers—which he says he will pass on to his kids one day—give incredible insight into how he's become such a beloved worldwide success.
The ballet world will converge on San Francisco this month for San Francisco Ballet's Unbound: A Festival of New Works, a 17-day event featuring 12 world premieres, a symposium, original dance films and pop-up events.
"Ballet is going through changes," says artistic director Helgi Tomasson. "I thought, What would it be like to bring all these choreographers together in one place? Would I discover some trends in movement, or in how they are thinking?"
Several weeks ago, Youth America Grand Prix announced that the lineup for tonight's Stars of Today Meet the Stars of Tomorrow gala at Lincoln Center's Koch Theater would include Bolshoi Ballet principal Olga Smirnova and first soloist Jacopo Tissi. But an article in Page Six published last night states that Smirnova and Tissi were denied visas to enter the US.
YAGP organizers "believe the Department of Homeland Security's decision may be motivated by the myriad tensions between the superpowers," says the piece, noting that "Smirnova is so revered in Moscow that her treatment could create a Russian backlash."
Is it any surprise a world premiere by choreographer Uri Sands and musician Justin Vernon, both renowned for the profound beauty and gorgeous musicality of their work, immediately sold out? We're hungry for creative collaborations that take reflective deep dives into what constitutes our humanity—and then there's the undeniable cool factor. Nine members of TU Dance will perform alongside Bon Iver (Vernon's band) during the evening-length piece. Presented as part of the Saint Paul Chamber Orchestra's Liquid Music Series. April 19–21. The work will also appear at the Hollywood Bowl Aug. 5. tudance.org.